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While the largest parts of icebergs — or islands — remain beneath the sea surface, often unmapped and perilous, a myriad of creatures and non-organic matter connect them to other lands. Nowadays, in the era of the climate crisis, what is hidden in the depths of the sea exponentially manifests the impact of anthropogenic activity on the planet. Plastic waste and pollution,(...)
Mediterranean icebergs: Invisible connections underwater
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While the largest parts of icebergs — or islands — remain beneath the sea surface, often unmapped and perilous, a myriad of creatures and non-organic matter connect them to other lands. Nowadays, in the era of the climate crisis, what is hidden in the depths of the sea exponentially manifests the impact of anthropogenic activity on the planet. Plastic waste and pollution, deep sea mining, and undersea network infrastructures affect marine biodiversity and life on Earth at large. Mediterranean Icebergs sheds light on forms of agency, be it human, more-than-human, or machinic, that operate in marine environments, paying attention to their entanglements, encounters, and asymmetries. Addressing the interconnectedness of environmental, political, and legal issues, this book takes the Mediterranean as a starting point to discuss what is at stake for all lives depending on the planet’s seas and oceans.
Théorie du paysage
Han Sungpil
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In his works of art the Korean photographer Han Sungpil confronts the themes of environment, energy production, and humankind’s impact on nature. The three series in this book of photographs are distinguished by their surprising perspective, which goes beyond the visual vocabulary normally found in environmental documentations. Whether it’s a painterly French landscape(...)
Han Sungpil
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In his works of art the Korean photographer Han Sungpil confronts the themes of environment, energy production, and humankind’s impact on nature. The three series in this book of photographs are distinguished by their surprising perspective, which goes beyond the visual vocabulary normally found in environmental documentations. Whether it’s a painterly French landscape featuring nuclear power plants, presented as a scene of idyllic perfection, or a search for the relics of whale hunting and coal mining in the Arctic and Antarctic, Sungpil’s photographs tell, artfully and critically, of nature’s sublimity and humankind’s overexploitation of it. Photographs of abandoned trawlers, whaling stations, and industrial ruins set in front of monumental, ice-covered landscapes shift the focus to the exploitation of ecological resources, leaving the viewer speechless. Sungpil was awarded the Ilwoo Foundation’s prize for his moving works of art.
Monographies photo
Brackish waters
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"Brakish waters" is the third of three projects to engage the resource industries of Vancouver Island (mining, forestry, and fishing), through contemporary art and writing. Brackish waters mingle the fresh with the salt. Departing from industrial ports and shoreline ecosystems, this publication crosses oceanic worlds of extraction and distribution. It responds to marine(...)
Brackish waters
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"Brakish waters" is the third of three projects to engage the resource industries of Vancouver Island (mining, forestry, and fishing), through contemporary art and writing. Brackish waters mingle the fresh with the salt. Departing from industrial ports and shoreline ecosystems, this publication crosses oceanic worlds of extraction and distribution. It responds to marine environments diffracted by the perspectives of artists, writers, Indigenous Elders, fish and fishers, biologists, citizen scientists, whales, physicists, boat builders, ship workers, sailors, pirates, brittle stars, and other creatures of the deep. Nanaimo Art Gallery is located on Snuneymuxw territory, one block from the city’s harbor, a place that has seen the forced displacement of Snuneymuxw villages, the arrival of precarious mine workers from China, the UK, and Scandinavia, and the World War II internment of Japanese Canadians who ran herring salteries and shipyards there.
Théorie de l’art
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Accompanied by a selection of some of David Goldblatt’s (1930–2018) lesser-known photographs, this distilled dialogue is drawn directly from the recordings of a roving conversation with the photographer conducted three months before his death in June 2018. Goldblatt was born in Randfontein—a mining town on the Witwatersrand gold reef—in 1930, the grandson of(...)
David Goldblatt: the last interview
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Accompanied by a selection of some of David Goldblatt’s (1930–2018) lesser-known photographs, this distilled dialogue is drawn directly from the recordings of a roving conversation with the photographer conducted three months before his death in June 2018. Goldblatt was born in Randfontein—a mining town on the Witwatersrand gold reef—in 1930, the grandson of Lithuanian-Jewish migrants who settled in South Africa after escaping persecution in Europe. After the death of his father in 1962, Goldblatt sold the family clothing business to become a full-time photographer. In this candid conversation with writer Alexandra Dodd, Goldblatt shares his views about land and landscape, the dangerous lure of repetition in portrait photography, Johannesburg, the solipsism of life as a photographer, staying sharp, his visceral intolerance of censorship, his abiding interest in structures and his observation of instances of dominion under democracy, among other key themes.
Théorie de la photographie
Moving mountains
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The ''Moving mountains' book is a selection of material enquiries of the Swedish landscape, narrated through a series of texts, recipes and visual materials that ask how we can reconfigure and inform our understanding of the land that surrounds us. The structure of ''Moving mountains'' focuses on opposites: mining in the North and agriculture in the South, the Lapland(...)
Moving mountains
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The ''Moving mountains' book is a selection of material enquiries of the Swedish landscape, narrated through a series of texts, recipes and visual materials that ask how we can reconfigure and inform our understanding of the land that surrounds us. The structure of ''Moving mountains'' focuses on opposites: mining in the North and agriculture in the South, the Lapland fells and the Skåne plains, wanted and unwanted industrial materials, new and old approaches to the land. Photographs by Joshua Olley take the reader through portraits of Skåne, Halland, Uppland, Södermanland, Norrbotten and Lappland. Although the investigation was based in Sweden, the concept is reproducible, which comes across during collaborative moments in the book. The design of the book by Kiosk Studio, with its thermolacquer heat sensitive cover, directly responds to the content, meaning the narrative is as much a visual investigation as it is a text based one.
Théorie du paysage
Seeing into stone
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This publication describes a technique applied by experienced stone carvers, when they work on sculptural objects: before they start cutting into a stone they contemplate its surface to anticipate the structure and natural growth beneath it. This ritual of looking into opaque matter describes a spiritual practice. At the same time it functions as a metaphor for a special(...)
Seeing into stone
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This publication describes a technique applied by experienced stone carvers, when they work on sculptural objects: before they start cutting into a stone they contemplate its surface to anticipate the structure and natural growth beneath it. This ritual of looking into opaque matter describes a spiritual practice. At the same time it functions as a metaphor for a special kind of tunnel vision, focused on what lies invisible under a surface. This book is a time travel through past and present, above and below ground. Landscapes, impacted and even created by resource extraction are put into context with contemporary industrial mining equipment and historical cast iron utilitarian goods. Through the combination of images from very different archives, connections are made that speak about the complex relationships of humans and minerals. Images and texts contribute to a debate on mineral and human coevolution, that redefines the separation between life and non-life.
Clouds and bombs
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Juan Hein has turned his fascination towards the realm of technology, mining the digital cloud instead of seeking clouds in the sky. He peers into a vast body of information and images, and captures and re-photographs what he finds most interesting. He chooses the motif, he enlarges it, crops it and digitally manipulates it. This process stretches the final image into(...)
Clouds and bombs
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Juan Hein has turned his fascination towards the realm of technology, mining the digital cloud instead of seeking clouds in the sky. He peers into a vast body of information and images, and captures and re-photographs what he finds most interesting. He chooses the motif, he enlarges it, crops it and digitally manipulates it. This process stretches the final image into something in between an almost classical etching, with strong sculptural aspects, and a deliberately pixelated digital meta-reality. By doing this, Hein points to the very origin of the picture – historically, technically and conceptually. In the age of fake news, the book is asking one simple question; is what you see true or false? Is it beauty or horror, a paraphrase of an illusive Chinese proverb or a meta-reality created by the mastermind. Hopefully the answer will remain in flux just as fluid and transient as the clouds themselves.
Monographies photo
And if I devoted my life to one of its feathers? Aesthetic responses to extraction, accumulation
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“And if I devoted my life to one of its feathers?” wrote the Chilean poet, artist, and feminist activist Cecilia Vicuña in the early 1970s. Vicuña countered anthropocentric and hetero-patriarchal urges with healing and appreciation, reviving the aesthetic and spiritual bonds between human and more-than-human entities and worlds. Revolving around this vision of(...)
And if I devoted my life to one of its feathers? Aesthetic responses to extraction, accumulation
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“And if I devoted my life to one of its feathers?” wrote the Chilean poet, artist, and feminist activist Cecilia Vicuña in the early 1970s. Vicuña countered anthropocentric and hetero-patriarchal urges with healing and appreciation, reviving the aesthetic and spiritual bonds between human and more-than-human entities and worlds. Revolving around this vision of interconnectivity, this book, which accompanies a joint exhibition of the same name of Kunsthalle Wien and Wiener Festwochen, seeks to create a collective dialogue around unequal distribution of power, sovereignty, and social and ecological justice. The exhibited works and written contributions reflect on the rationale of exploitation, the fast-paced mining of raw materials, and environmental destruction as a colonial legacy. They deconstruct Western anthropocentric models and enduring colonial and racist discourses, trace the stories of indigenous struggles for collective survival, and celebrate encounters defined by solidarity in their resistance to capitalist extraction, misogyny, imperialist violence, and dispossession.
Théorie de l’art
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'David Benjamin Sherry: American Monuments' is a landscape photography project that captures the spirit and intrinsic value of America’s threatened system of national monuments. In April 2017 an executive order called for the review of the 27 national monuments created since January 1996. In December 2017 the final report called on the president to shrink four national(...)
David Benjamin Sherry: American Monuments
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'David Benjamin Sherry: American Monuments' is a landscape photography project that captures the spirit and intrinsic value of America’s threatened system of national monuments. In April 2017 an executive order called for the review of the 27 national monuments created since January 1996. In December 2017 the final report called on the president to shrink four national monuments and change the management of six others, recommending that areas in Maine, Nevada, New Mexico, Utah and the Atlantic and Pacific Oceans be offered for sale, specifically for oil drilling and coal and uranium mining. This publication focuses on the areas under review, with special emphasis on those that have already been decimated. Sherry documents these pristine, sacred and wildly diverse areas using the traditional, historic 8x10" large format. The resulting 31 photographs—all tipped in to the book by hand—not only convey the beauty of these important and ecologically diverse sites, but also shed light upon the plight of the perennially exploited landscape of the American West.
Monographies photo
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How do we make sense of the Earth at a moment in which it is presented in crisis? ''Geostories'' is a manifesto on the environmental imagination that renders sensible the issues of climate change and through geographic fiction invites readers to relate to the complexity of Earth systems in their vast scales of time and space. The book is organized into three(...)
Geostories: another architecture for the environment
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How do we make sense of the Earth at a moment in which it is presented in crisis? ''Geostories'' is a manifesto on the environmental imagination that renders sensible the issues of climate change and through geographic fiction invites readers to relate to the complexity of Earth systems in their vast scales of time and space. The book is organized into three sections–terrarium, aquarium, planetarium, each of which revisits such devices of wonder that assemble publics around representations of the Earth. The series of architectural projects becomes a medium to synthesize different forms and scales of knowledge on technological externalities, such as oil extraction, deep-sea mining, ocean acidification, water shortage, air pollution, trash, space debris, and a host of other social-ecological issues. Through design research, ''Geostories'' brings together spatial history, geographic representation, projective design, and material public assemblies to speculate on ways of living with such legacy technologies on the planet.
Architecture écologique